By SUE COLETTA
Have you ever considered writing true crime? With five days left of my deadline, I’ve finished the manuscript of Pretty Evil New England and am now just tightening the writing and gathering my photographs for the book. The hard part is behind me.
While on this journey into true crime I learned a few lessons that might interest you.
Would I recommend true crime to new writers? The only honest answer I can give is, it depends.
The truth is, this work isn’t for everyone. Writing true crime is a huge undertaking that requires months of intense research and deep concentration. Some days I swear my brain had caught fire from overuse. Seriously, it can be physically draining to live inside a real killer’s head for months on end, never mind five killers’ heads, or the victims and their families. At the same time, my passion and excitement for the project kept me racing to work every single day, and the day after that, and the day after that.
Please indulge me for a moment. I do have a point, but you’ll need context to understand what I’m talking about. When the publisher approached me about writing Pretty Evil New England, they asked me to include 10 +/- female serial killer stories.
But I didn’t want to write 10 short stories. What fun is that? If I was to veer out of my comfort zone (psychological thrillers and mysteries), then I needed to write a story that mattered, a story that readers could sink into, spend time in the story world, and experience a visceral thrill ride. What I failed to realize at the time was that the publisher’s idea would’ve been a cakewalk compared to my over-eager proposition. But hey, I was never one to shy away from a challenge. Why start now?
In my book proposal, I outlined the book in four Parts. Part I – III focused on one female serial killer at a time, with each Part dedicated to the subject’s case, all four Parts the length of a novella. In Part IV, I zeroed in on two female serial killers — one poor, one “lady of influence” — who committed almost identical crimes. They both claimed to experience visions and prophetic dreams, both murdered the people they loved most, and both stunned the public with their heartless crimes. Yet, after they were exposed as killers, the two women’s lives ran in opposite directions. Even more shocking were the outcomes at trial. So, Part IV became not only two intriguing storylines that intertwined but it shined a (subtle) light on fairness and equality.
Not conforming to the publisher’s original vision for the book was a risk, but I backed up my argument with facts from various sources that proved true crime readers prefer quality over quantity.
Lesson #1: When pushing for your own concept, you need to provide proof that your idea will be more profitable and enjoyable than the one posed by the publisher.
Once I found my five cases, I delved into research. Now, I had no idea what to look for, so I researched everything… life in nineteenth century New England, nursing requirements back then, forensics of yesteryear, how trials worked back then, the gallows… you name it, I researched the topic to death (no pun intended). I had no direction, except for my five ladies, two of which had practically no online footprint and one who had too many articles written about her, and many with conflicting accounts that didn’t align with my early research. Which is worse, actually. It’s much more time-consuming to wade through conflicting information than to research a bare bones case.
Lesson #2: Have a plan of attack. Meaning, before you start to research plan what you’ll need for the story, like dialogue and a sense of place.
Being a fiction writer helped a lot, because I viewed the cases from a storyteller’s point of view. The worse thing we can do is to just report facts. Boring! Instead, we need to find that perfect balance between journalism and engaging storytelling. But, and this is key, we cannot change or embellish to enhance the story.
What I discovered is, there are numerous ways to write true crime. Each of my four Parts are written differently. Why? Because no true story is the same. Thus, it’s our job to be able to adapt according to the case. For example, in Part I, I used the killer’s confession and dialogue to write scenes from her perspective, the victims’ perspectives, and the dogged investigators who caught her. Using a backdrop of the historical Eastern Heatwave of 1901 enhanced the atmosphere in a creepy way. Which brings me to…
Lesson #3: Look outside the case for a sense of place. What else is happening at that time, in that area?
Lesson #4: No amount of online research can replace real-world experience.
Even if we’re writing historical true crime, we still need to visit the crime scenes, grave sites, walk where the killer walked, visit the town, or the murder house, if you’re really lucky. In my research I stumbled across a third floor that was perfectly preserved from 1881. I walked where the killer walked (in Part III of Pretty Evil), I sat where the victims sat, I laid my finger on the ivory keys of their piano and perused their bookshelves. What an incredible find! It’s an experience I will never forget. If you’d like to see the photos, I blogged about it.
The most important lesson I learned was this. Before choosing a subject to write about, ask yourself, why does this story interest me? What is it about this crime that makes it unique?
We, as writers, need to be passionate about all our projects. For true crime writers, we need to be doubly sure, because we can’t change real life. The true crime writer lives with the case for a long time… many months, sometimes years. If the writer isn’t passionate about the story, chances are readers won’t care, either. Same goes for fiction. Hence why TKZ members have written umpteen posts on concept, premise, when to keep a story idea and when to trash it.
By the time I wrote the final sentence of Part IV of Pretty Evil, I couldn’t wait to go back to page one. I missed my “characters” from Part I-III. And now that I’m just tidying up the manuscript, I feel like I’m visiting old friends, even if they are psychopaths. 😉 Their stories are part of me now, and hopefully, will become part of my readers’ lives as well.
Have you ever considered writing true crime? If you already do, please share your tips.
PRETTY EVIL NEW ENGLAND: True Stories of Violent Vixens and Murderous Matriarchs hits bookstores Sept. 1, 2020. Can’t wait!
“Larry Brooks has done it again!!! In Great Stories Don’t Write Themselves, Brooks delivers a clear, concise, easily digestible roadmap to make our stories work.
e mutually exclusive. Both are handguns, but they operate under entirely different principles. A revolver, otherwise known as a “wheel gun”, holds its cartridges in a cylinder that rotates as the hammer comes back and prepares for each shot. The revolver in the picture features an external hammer, and can be fired double action (DA) or single action (SA), which makes it a DA/SA revolver. (Double action means that with the hammer down, a single pull of the trigger with bring the hammer back, rotate the cylinder, and then drop the hammer again, firing the gun. Single action would describe the condition where the hammer is manually cocked and remains back–“condition zero”. From this condition, the trigger is more sensitive by a large margin.) Generally, there are no external safeties on a revolver. The fact of the long DA trigger pull functions as a safety. Only a fool would carry a revolver in condition zero.
Recent years have seen a growth in the popularity of the DAO (double action only) revolver. With no external hammer to cock, every pull of the trigger is double action. The upside of a hammerless revolver is the ease of the draw from concealment (hammers have a way of snagging on clothing).
A pistol, on the other hand, carries its load in a magazine that is inserted in the grip. As the weapon fires, the slide cycles, ejecting the spent shell casing and pushing the next round into battery. The picture at the top of this post of me at the range shows this cycling action of a Glock 36 at 1/4000 of a second–thanks to my son, Chris, for getting the picture. 
The pistol in the picture with the revolver has no hammer, but is rather “striker fired”–a distinction that is best left to a future post. Striker fired pistols may or may not have external safeties. Some pistols have external hammers, such as the Colt Defender in the picture. As shown, the Colt is in condition one, which means cartridge in the chamber, hammer back and safety on–otherwise known as “cocked and locked.” In yet another iteration, many manufacturers make DA/SA pistols. The Bersa Thunder in the photo offers a very long, hard DA trigger pull for the first shot, which leaves the hammer back for a SA follow-up shot. For most DA/SA pistols, the “safety” is not a safety at all, but rather a de-cocker, which safely returns the hammer to its DA position.
If your character is an on-duty cop or active duty military, where sidearms are worn in some kind of duty rig, the sky’s the limit for what they want to carry. You can buy holsters for all kinds of hand cannons. The choices become more limited when it’s important for your character to conceal his or her weapon. As a general rule, the larger the firearm, the harder it is to conceal. The obvious corollary is that bigger people can conceal bigger guns.
When it comes to carrying a gun on one’s belt, the critical first choice is inside-the-waistband (IWB) vs. outside-the-waistband (OWB), and both mean exactly what the words say. Generally, OWB carry is more detectable, 
but with the right holster and an effective cover garment, it can be very effective. By contrast, IWB carry allows for concealment by means as simple as an untucked T-shirt. On the downside, the gun takes up waistband real estate that would otherwise be used by the waist. 
If your character wears skinny jeans, IWB could be a problem. IWB carry positions are referred to as positions on a clock face, where one’s navel would be 12 o’clock and the right hip would be 3 o’clock. The IWB position in the picture is referred to as “appendix carry”, and for the life of me, I don’t know how he would be able to sit down. Shoulder rigs are popular in movies and television shows, but I 
have never met a real person who wore one and didn’t hate it over time. They’re hard on the shoulders, and you can never let your arms hang normally. But the deal breaker for me would be that during the draw stroke, you pretty much have to point the gun at the person behind you, and then subsequently at yourself. That violates the basic tenets of firearm safety–as do many of the specialty retention devices such as the bra holster. ‘Nuff said, can we agree?
the only concealment option is a vest pocket, or perhaps a boot? Search the Web for specialty guns that are actually well-made and very effective for what they are. North American Arms makes a mini-revolver that easily fits in your fist, and can be chambered in .22 magnum, a round that shows very similar terminal ballistics to a .38 special, un
der ideal circumstances. The tiny, nearly non-existent barrel is a problem for a shot longer than, say, 10 yards, but as a belly gun, it’s kind of impressive, and since it’s a revolver, your character gets five tries to bring justice to another character.
